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FROM THE PRODUCING ARTISTIC DIRECTOR Welcome back to Round House and the start of our 2014/15 season! I’ve always loved Sam Shepard’s Fool For Love, and have considered directing it at a number of theaters that I’ve run, but it wasn’t until last year that I thought I had the right actors to pull off the incredibly challenging roles of May and Eddie. I had been thinking about Thomas Keegan as Eddie since I saw him in Signature’s wonderful production of Dying City two seasons ago, but it wasn’t until I met the phenomenal Katie deBuys last year that I knew that I finally had the right team. I think you’ll quickly see why casting is so important for this play. It is an explosive, tense piece that requires physical dexterity and a depth of emotional access. Shepard writes with an understanding of the power of live actors on a stage, and challenges them to explore the extremes. Like most great plays, Fool for Love is open to lots of different interpretations. It’s a piece that lives on the dividing line between love and hate, between attraction and repulsion, and between fantasy and reality. After years of exploring the myths that sustain us as Americans, Shepard turned his attention to personal myth, the stories that serve as the foundation of our families and relationships. He recognized that reality is subjective, based on our personal experience, and exploited that to great theatrical effect, challenging you as an audience to decide which characters, which stories, to believe. Shepard is undoubtedly one of America’s greatest playwrights — and perhaps one of the best playwrights of the 20th Century — and 30 years ago, at the height of his success, was the second most produced American playwright after Tennessee Williams. Yet oddly, Shepard isn’t revived much in this area. I hope this production will change that. We’ve got a fantastic lineup of plays this season, including a coproduction of Fetch Clay, Make Man by Will Power, which is currently running to rave reviews in the Bay Area. I hope you’ll consider coming back to us for Fetch and for all of the other great shows in our season.
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Fool for Love artwork by Esther Wu
HELP US START 2014/15 ON A GOOD NOTE.
Photo of Janine Divita, Erin Weaver, Samuel Edgerly, and Will Gartshore by Danisha Crosby
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Ryan Rilette, Producing Artistic Director
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A R O U N D H O U S E T H E AT R E P R O D U C T I O N Ryan Rilette, Producing Artistic Director
SPONSOR SPOTLIGHT Round House Theatre extends its deep gratitude to Esthy & Jim Adler and Judy & Leo Zickler, sponsors of Fool for Love.
By
“Sam Shepard’s Fool for Love is a play that captures your attention and doesn’t let go. We are looking forward to the creative job that Ryan Rilette will do in staging this modern classic.” — Esthy & Jim Adler
SAM SHEPARD Directed by
RYAN RILETTE
Esthy & Jim Adler
Judy & Leo Zickler
FOOL FOR LOVE
“We are so happy to be sponsoring this dynamic play by one of our great American playwrights. Adding to the cultural life of the Washington, DC region is a privilege that we feel strongly about. And Round House always delivers a magnificent production. Enjoy!” — Judy & Leo Zickler
Scenic & Costume Designer:
Lighting Designer:
Composer/Sound Designer:
Meghan Raham
Daniel MacLean Wagner
Eric Shimelonis
Fight Choreographer:
Props Master:
Dramaturg:
Casey Kaleba
Andrea Moore
Brent Stansell
Assistant Director:
Production Stage Manager:
Sarah Scafidi
Bekah Wachenfeld*
*Member Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States.
Sponsored in part through generous support from ESTHY & JIM ADLER and JUDY & LEO ZICKLER
Performances beginning September 3, 2014 FOOL FOR LOVE is presented by special arrangement with Dramatists Play Service, Inc., New York.
The video and/or audio recording of this performance by any means whatsoever is strictly prohibited. To become a sponsor for an upcoming production, please contact Sarah Sexton, Director of Development, at 240.644.1401. Artist Transportation provided by
Major funding provided by
CAST (in order of appearance) May Eddie Martin Old Man
KATIE DEBUYS* THOMAS KEEGAN* TIM GETMAN* MARTY LODGE*
*Member Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States
Fool for Love will be performed without an intermission.
up next
at Round House Theatre
Fetch Clay, Make Man Area Premiere Co-production with Marin Theatre Company By Will Power Directed by Derrick Sanders
JALEO.COM
October 10 – November 2, 2014 One snuck in the back door, so the other could walk in the front.
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Contact Sarah Sexton, Director of Development, at 240.644.1401 TFG-153 Round House Ad.indd 1
Just before one of the most anticipated fights in boxing history, heavyweight champ Muhammad Ali forms an unlikely friendship with controversial Hollywood star Stepin Fetchit.
11/4/13 6:19 PM
F O H T Y THE M ARD P E H S M A S By Brent Stansell, Dramaturg theater movement at places like Caffé Cino, La Mama, the Open Theatre, the American Place Theatre, and Theatre Genesis. As a California native, he also had an artistic home at the Magic Theatre in San Francisco (where Fool for Love was originally produced). The breadth and exploratory scope of his early work were astonishing. He wrote short, nonrealistic pieces with wild plot twists and inconclusive endings, resisting traditional dramatic structures. His early plays were filled with surreal images and dream worlds, metaphors, music, and the modern myths of rock ‘n roll, movie stars, and the American West. Arguably, more than any other American playwright, Sam Shepard brought postmodernism to the theater in the 1960s and contributed to the idea emerging that meaning is subjective, interpretive, and unstable. For Shepard, any search for objective truth is pointless, the reliability of narrative is always in question, and the imaginary always has more power than reality. Most critics agree that Shepard made his greatest contribution to American drama when he wrote his “family trilogy” including Curse of the Starving Class (1976), Buried Child (for which he won the Pulitzer Prize in 1979), and True West (1980). Shepard was
“Leading Man, Playwright, Maverick.” Thirty years ago, when Newsweek put those words next to Sam Shepard’s chiseled profile on its cover, the magazine mythologized the playwright as “America’s cowboy laureate” and an “American fantasy.” Ironically, this was exactly the kind of mythologizing Shepard spent his playwriting career attempting to dismantle. Shepard’s plays deconstruct our American mythologies, exposing the lies and delusions we live under. In over 50 plays, Shepard explores many of the same themes again and again: the promise and failures of the American dream; a vision of the world ruled by men and defined by violence; how the performance of self contains inherent contradictions between familial, individual, gendered and national identities; and the psychology, spirituality, and “emotional territory” of a world disconnected from meaning. He explores these themes within novel dramatic structures, using ironic humor alternating with intense lyricism and gripping physical action. When Shepard started his prolific career in the 1960s (with his first production opening before he even turned 20), his early work quickly exploded in the off-off Broadway
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inspired to focus more on his characters, moving away from his experimental phase, arguably resulting in his most substantive and impactful work. His characters are often victims and victimizers attempting to fill the emptiness, abandonment, disconnectedness, and loss in their lives with a hunger for drugs and sex, violence, and love. He explained his shift in focus by saying, “It suddenly occurred to me that I was maybe avoiding a territory that I needed to investigate which is the family. And I avoided it for quite a while because, to me, there was a danger, and I was a little afraid of it.” Throughout these plays, the family is the source of tremendous pain and Shepard finds danger in its destructive nature (including incest and infanticide) and in its perpetuation of cycles of violence and suffering (much like Greek tragedy). In writing Fool for Love (1983), Shepard attempted to write a romantic confrontation between a man and a woman for the first time, telling the story from the perspective of the female character. Some critics believe Fool for Love and Shepard’s next play A Lie of the Mind (1985), which explored similar themes, extended his exalted “family trilogy” into a “family quintet.” After writing about an endless cycle of male violence in True West, Shepard said that his move to female characters was an attempt to explore a way out for men because he was “beginning to realize that the female-side knows so much more than the male side. About childbirth. About death. About where it’s at.” But perhaps more than any other Shepard play, Fool for Love attempts to deconstruct the myth of Sam Shepard, the man. Fool for Love was written while he was experiencing tumultuous changes in his personal life, starting a romance with actress Jessica Lange while separating from his wife O-lan. At the same time, Shepard was also working on his relationship with his alcoholic
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father, having recently visited him in New Mexico. But part of Shepard’s mystique is that he never speaks about his personal life directly. His plays are often “departures” from real life, inspired by his own autobiography, but never directly linked (although Shepard has admitted that the conversation about Barbara Mandrell in the play and the story about the cow field are almost pulled verbatim from conversations with his father). Shepard has said about the autobiographical elements of Fool for Love: “I never intended the play to be a documentary of my personal life. It’s always a mixture. But you can’t get away from certain personal elements that you use as hooks in a certain way. The further I get away from those personal things the more in the dark I am.” Shepard’s plays are never “documentary” because the line between reality and fantasy is always intentionally blurred. Scholar Sherrill Grace notes about Shepard’s plays: “However straightforward they may seem at first, however careful Shepard may be about realistic details or with characters who seem very familiar, sooner or later an audience is forced to abandon the comfortable realm of logic, clarity, predictability and familiarity for an illogical realm of intense emotion, violent unpredictability and complex symbolic, inner states.” Shepard’s realism is not the cozy realism of families quibbling over the dinner table; Shepard’s worlds evoke the violent, lustful, dangerous realities of Edward Albee, the meticulously defined and otherworldly creations of Samuel Beckett, and the tragicomic threat of Harold Pinter. With such tremendous work to his name, no wonder Newsweek would feature Sam Shepard on its cover. As a man always transforming his life — a wanderer traveling from California to New York, escaping to live in England, then moving to a ranch in Santa Fe; continued on page 13
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T S A C KATIE DEBUYS (May) is very happy to return to Round House after appearing in Seminar last season. DC area credits include Stupid F**king Bird (both the original run and the recent remount) and In The Next Room or the vibrator play at Woolly Mammoth; Henry V, The Conference of Birds, and The Gaming Table at Folger Theatre; Measure for Measure at Shakespeare Theatre Company; and Aladdin’s Luck at Imagination Stage. Regional credits include Bug (B. Iden Payne Award: Best Actress) and Killer Joe at Capital T Theatre in Austin, Texas and Twelfth Night and Julius Caesar at the Texas Shakespeare Festival. Ms. deBuys received a BS in Theatre from Northwestern University and an MFA in Acting from The University of Texas at Austin.
TIM GETMAN (Martin) is thrilled to return to Round House having last appeared in The Retreat from Moscow. He has worked onstage for 15 years in the Washington/ Baltimore area, most recently performing in Three Men in a Boat at Synetic Theatre and Water by the Spoonful at Studio Theatre. He has also been seen at Arena Stage, Folger Theatre, Rep Stage, Signature Theatre, Shakespeare Theatre Company, Theater J, Everyman Theatre, and Center Stage, among others. Tim is a Woolly Mammoth company member, seen in The Unmentionables, Gruesome Playground Injuries, Detroit, and Appropriate. Recent television credits include The Men Who Built America and Veep.
THOMAS KEEGAN (Eddie) is thrilled to be making his Round House debut. He has previously appeared at Signature Theatre in Dying City, Folger Theatre in Othello and The Taming of the Shrew, The Kennedy Center in Shear Madness, The National Symphony Orchestra’s GeorgeWASHINGTON and Beyond the Score: Mendelsohn, The Baltimore Symphony Orchestra in CSI: Mozart, The American Shakespeare Center in King Lear, Measure for Measure, Twelfth Night, Richard II, A Midsummer Night’s Dream, The Revenger’s Tragedy, Macbeth, The Changeling, Henry VI Part 1, and Cymbeline. Thomas has appeared in HBO’s Veep, and as Ensign Baker in AMC’s Turn. He has appeared in and provided the voice for national and local television and radio commercials, industrial videos, and audiobooks. Thomas earned his MFA from The Shakespeare Theatre Company’s Academy for Classical Acting at The George
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Washington University. This winter, Thomas can be seen as Padraic in Constellation Theatre Company’s production of The Lieutenant of Inishmore. Follow him on twitter: @TheThomasKeegan
MARTY LODGE (Old Man) is performing in his 40th show at Round House, where he was most recently seen in Seminar and Double Indemnity. Others include The Drawer Boy, Our Town, Three Days of Rain, and Uncle Vanya. His numerous DC credits include Arena Stage, The Shakespeare Theatre, Woolly Mammoth, The Folger, and The Studio Theatre. Regional credits include The Old Globe, The American Repertory Theatre, and The Milwaukee Rep, among many others. On Broadway he stood by for Bill Pullman in Oleanna. His numerous film and TV credits include Mad Men, Grey’s Anatomy, Criminal Minds, Cold Case, Zodiac, Cecil B. Demented, Private Practice, Numb3rs, Boston Legal, and Gilmore Girls, among others. He now lives in Chicago.
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M A E T C I T S I T R A
Award) and Geography of a Horse Dreamer (1974) — premiered in London. In 1974 Shepard returned to the United States and became the playwright-in-residence at the Magic Theatre in San Francisco, a position he held until 1984. Beginning in the late 1970s, Shepard applied his unconventional dramatic vision to a more conventional dramatic form, the family tragedy, producing Curse of the Starving Class and Buried Child in 1978 (both of which won Obie Awards) and True West in 1980. Buried Child also won the Pulitzer Prize for drama. Shepard began a new career as a film actor in 1978, appearing in Renaldo and Clara and Terrence Malick’s Days of Heaven. Throughout the 1980s and into the ’90s, Shepard continued to write plays — Fool for Love (1983) won Obie awards for best play as well as direction, and A Lie of the Mind (1985) garnered the New York Drama Critics Circle Award and Outer Critics Circle Award for outstanding new play — and expand his work in film, receiving a Academy Award nomination for his performance in The Right Stuff (1983). As writer/director, he filmed Far North and Silent Tongue, in 1988 and 1992, respectively. Shepard’s play Stages of Shock premiered at the American Place Theatre in 1991, and Simpatico transferred to the Royal Court Theatre after its premiere in 1994 at the New York Shakespeare Festival. A revised Buried Child opened on Broadway in April 1996 and earned a Tony Award nomination. Eyes for Consuela, based on a short story by Octavio Paz, premiered at Manhattan Theatre Club in 1998. The Magic Theatre premiered The Late Henry Moss, starring Sean Penn and Nick Nolte, before it was moved to New York’s Signature Theatre in 2001. Shepard’s projects also include the plays The God of Hell (2005) and Kicking a Dead Horse, which premiered in Dublin, Ireland, in March 2007 and had its New York premiere in July 2008 at The Public Theater. Shepard is considered one of the foremost modern American playwrights. In 1985 he was inducted into the American Academy of Arts and Letters,
SAM SHEPARD (Playwright) was born Samuel Shepard Rogers VII on November 5, 1943, in Fort Sheridan, Illinois. The son of a career Army father, Shepard spent his childhood on military bases in the US and Guam before his family settled in Duarte, California. Shepard worked on a ranch in Chino from 1958 to 1960 and studied agriculture for a year at Mount Antonio Junior College. After leaving college, he joined the Bishop’s Company Repertory Players, a touring theater group. In 1963, Shepard moved to New York City, where he began to write plays for the emerging experimental underground theater scene. He made his debut at Theatre Genesis on October 10, 1964, with the double-billed Cowboy and Rock Garden. In 1965 he presented Up to Thursday and 4-H Club at Theatre 65, Dog and Rocking Chair at La MaMa, Chicago at Genesis, and Icarus’s Mother at Caffe Cino. He was soon hailed by The New York Times as “the generally acknowledged ‘genius’ of the [Off Off-Broadway] circuit.” In 1966, Red Cross, Chicago, and Icarus’s Mother earned Shepard a trio of Village Voice Obie Awards. In 1967 and 1968, Shepard wrote La Turista, his first full-length play, Melodrama Play, and Forensic and the Navigators, all of which also won Obie awards, and Cowboys #2, which premiered in Los Angeles. In 1969, he began a stint playing drums and guitar with the cult “amphetamine rock band” the Holy Modal Rounders, later telling an interviewer that he would rather be a rock star than a playwright. He nevertheless continued to write plays, completing Holy Ghostly and The Unseen Hand in 1969, Operation Sidewinder and Shaved Splits in 1970, Mad Dog Blues, Back Bog Beast Bait, and Cowboy Mouth (written with poet/musician Patti Smith) in 1971. He left the Rounders in 1971 and moved to England, where he lived for the next three years. Two notable plays of this period — The Tooth of Crime (1972, Obie
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which awarded him the Gold Medal for Drama in 1992. In 1994 he was inducted into the Theatre Hall of Fame. Writing in the New Republic, Robert Brustein called Shepard “one of our most celebrated writers,” adding that his plays “have overturned theatrical conventions and created a new kind of drama.” RYAN RILETTE (Director) is entering his third season as Producing Artistic Director of Round House, where he directed This by Melissa James Gibson and How to Write a New Book for the Bible by Bill Cain and where later this season, he will be seen as Astrov in Annie Baker’s Uncle Vanya. Prior to joining Round House, he served as Producing Director of Marin Theatre Company for five years. For MTC, he has directed the world premieres of Bellwether by Steve Yockey and Magic Forest Farm by Zayd Dohrn. He also directed God of Carnage by Yasmina Reza; Fuddy Meers by David Lindsay-Abaire; Boom by Peter Sinn Nachtrieb; and In The Red and Brown Water by Tarell Alvin McCraney, the first part of The Brother Sister Plays Trilogy, which MTC co-produced with American Conservatory Theatre and Magic Theater, and which was named “the theatrical event of the year” by the San Francisco Chronicle. Prior to joining MTC, Rilette served as Producing Artistic Director of Southern Rep Theatre, the leading professional theater in New Orleans, from 2002 to 2007. At Southern Rep, he directed the world premieres of The House of Plunder by Jim Fitzmorris, The Vulgar Soul by John Biguenet, and The Sunken Living Room by David Caudle; and the regional premieres of Edward Albee’s The Goat, or Who is Sylvia?, In Walks Ed by Keith Glover, and Kimberly Akimbo by David Lindsay-Abaire. He also commissioned, developed, and directed two plays about Hurricane Katrina and its effect on the region: Rising Water by John Biguenet and The Breach by Tarell Alvin McCraney, Catherine Filloux, and Joe Sutton. Rilette is the co-founder and former Artistic Director of Rude Mechanicals Theatre Company, the past president of the National
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New Play Network, and a former professor at Tulane and Loyola universities in New Orleans. He earned his MFA in Acting from American Conservatory Theatre. MEGHAN RAHAM (Scenic & Costume Designer) DC credits include: Romeo and Juliet and The Conference of the Birds (sets) at Folger Theatre; Red Speedo and The Aliens (costumes) at Studio Theatre; The Wings of Ikarus Jackson (sets and costumes) at The Kennedy Center/Theatre for Young Audiences. Off-Broadway: Clay at Lincoln Center LCT3. Regional: The Chosen (sets and costumes) at Barrington Stage; Death of a Salesman, Little Shop of Horrors, Circle Mirror Transformation, Broke-ology and others at Kansas City Repertory Theatre; Fedra at Lookingglass Theatre Company; Frankenstein with The Hypocrites at the Museum of Contemporary Art (Chicago); Venice (sets and costumes; both Ovation Nominated) at Center Theatre Group, LA. International: Design and co-creation of S/he is Nancy Joe, which premiered in Prague in 2012 and has toured internationally (2013 Edinburgh Fringe Herald Angel Award). Ms. Raham received an MFA from Northwestern University and is an Assistant Professor at American University. DANIEL MACLEAN WAGNER (Lighting Designer) Mr. Wagner has designed lighting for more than 25 productions at Round House over the past 30 years — most recently Seminar, This, and Glengarry Glen Ross. He has designed lighting for more than 400 productions at many other theaters, including Arden Theatre Company, Berkshire Theatre Festival, Boston Lyric Opera, New Repertory Theatre, Philadelphia Theatre Company, Portland Stage, Arena Stage, The Shakespeare Theatre Company, The John F. Kennedy Center, The Studio Theatre, Signature Theatre, Theatre of the First Amendment, Horizons Theatre, Potomac Theatre Project, The Rep Stage, Theater J, Woolly Mammoth Theatre Company, and
2014/2015 Season
CASEY KALEBA (Fight Choreographer) previously arranged violence for Round House Theatre’s productions of Young Robin Hood, Bengal Tiger at the Baghdad Zoo, Double Indemnity, Crown of Shadows, Charming Billy, Fahrenheit 451, The Talented Mr. Ripley, The Picture of Dorian Gray, and Sarah Metzger Memorial productions of Dracula and Cyrano. Other local credits include Signature Theatre (Threepenny Opera, Miss Saigon, Really, Really); Faction of Fools (Titus Andronicus); Folger Theatre (Richard III, Romeo & Juliet, The Taming of the Shrew, The Gaming Table, Othello, Hamlet, Henry IV, Part I); Studio Theatre (The Bachelorette, Time Stands Still, Jerry Springer: The Opera, Reefer Madness, Dog Sees God); Forum Theatre (Pluto, Marisol); and Rorschach Theatre (She Kills Monsters, Neverwhere, After the Quake, Living Dead in Denmark). Casey is a company member with Rorschach Theatre and a Certified Teacher with the Society of American Fight Directors.
Olney Theatre Center. He is an eight-time recipient of the Helen Hayes Award, for which he has received 28 nominations. Recent designs include Freud’s Last Session at Theater J. Upcoming projects include Awake and Sing at Olney Theatre Center, Bad Jews at Studio Theatre, and The Nutcracker at Round House Theatre. For many years, Mr. Wagner held the positions of Resident Lighting Designer at Olney Theatre Center and Artistic Associate at Signature, and was a member of the Artists Roundtable at Round House. He serves on the Boards of Directors of the Washington Area Performing Arts Video Archive (WAPAVA) and the National Theatre Corporation. Mr. Wagner is Professor Emeritus in the School of Theatre, Dance, and Performance Studies, of which he was formerly Director, at the University of Maryland. ERIC SHIMELONIS (Composer/Sound Designer) Round House Theatre productions include: Ordinary Days, Seminar, This, The Beauty Queen of Leenane, Becky Shaw, How to Write a New Book for the Bible, and Bengal Tiger at the Baghdad Zoo. Eric recently won the Helen Hayes Award for his work on Never The Sinner at 1st Stage. Other recent projects include Torch Song Trilogy directed by Michael Kahn at Studio Theatre; Richard III at Folger Shakespeare Theatre; Freud’s Last Session at Theater J; the world premiere of the new Sam Shepard play Heartless at Signature Theatre, NYC; Hope & Gravity at City Theatre, Pittsburgh; Fuerza Bruta at Daryl Roth Theatre, NYC; and Adam Rapp’s Hallway Trilogy at Rattlestick Playwrights Theatre, NYC (Drama Desk and Hewes Design Award nominations). Eric is an educational writer and director for the Washington Bach Consort, a recent member of the faculty at the University of Maryland, and resident composer with NYC’s Voice Of The City Ensemble, with whom he had a sold-out Carnegie Hall debut starring F. Murray Abraham singing his song cycle Elusive Things. www.shimelonis.com
Round House Theatre
ANDREA “DRE” MOORE (Props Master) has been creating theatrical properties in the DC area for over 11 years. She has designed properties at Round House for several productions (Ordinary Days, The Lyons, This, Young Robin Hood, Crown of Shadows, I Love To Eat). Her work has graced the stages of Adventure Theatre (Pinkalicious, Jungle Book, Three Little Birds, Five Little Monkeys, Miss Nelson is Missing), Flying V (Fights – Love Is A Battlefield, The Best of Craigslist, The Pirate Laureate of Port Town), Theater J (The History of Invulnerability), Rorschach Theatre (Neverwhere), Imagination Stage, Georgetown University, The Kennedy Center, Olney Theatre, and Rep Stage. She also assists in the education of our future theater designers and craftspeople at the University of Maryland College Park, at the Clarice Smith Performing Arts Center. BRENT STANSELL (Dramaturg) has been a teaching artist at Round House since 2006 and previously served as dramaturg
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on Ordinary Days, This and The Lyons. Other DC area dramaturgy credits include work with the Inkwell and Forum Theatre as well as with his own theater company, DC Theatre Collective. Brent has taught at The Catholic University of America, Montgomery College, The George Washington University, American University, Folger Theatre, and The Shakespeare Theatre Company, where he is Training Programs Manager. DC area acting credits include columbinus (u/s) at Round House and productions with Rorschach Theatre and the National Player’s Tour 55 out of the Olney Theatre Center. He has an MFA in Dramaturgy from Brooklyn College and a BA in Dramatic Literature from The George Washington University.
ROUND HOUSE THEATRE is one of the leading professional theaters in the Washington, DC metropolitan area. Its mission is to serve as “a home for outstanding ensemble acting and lifelong learning” and “to captivate audiences with stories that inspire compassion, evoke emotions, and demand conversation.” In its 37-year history, Round House has been nominated for 140 Helen Hayes Awards (including eight in 2014) and has won 27 (including three in 2014). It’s productions have won “Outstanding Resident Play” four times. It produces a six-show season of modern classics, new plays, and musicals for more than 40,000 patrons each year at its 395-seat theater in Bethesda. Round House’s educational programs serve more than 2,500 students of all ages at its six-classroom Education Center in Silver Spring and in schools throughout Montgomery County. Its many innovative education programs encompass Full Day Programs for Youth, including Summer Programs for K – 12; a Teen Performance Company, with classes and events for teens throughout the year culminating in The Sarah Metzger Memorial Play, the only play produced by a regional theater that is directed, acted and designed by high school students; School Outreach, including
SARAH SCAFIDI (Assistant Director) is excited to spend the season as Round House Theatre’s first-ever Artistic Apprentice! Her DC-area credits include: assistant director for Spring Awakening with Steve Cosson at Olney Theatre Center, director of [title of show] with Purple Light Theatre, stage manager for Recovery at Capital Fringe ’13, and a Venue Manager for Cap Fringe ’14. Sarah just returned from LA as an SDCF Observer with Michael Wilson on the remount of the Broadway production of Trip to Bountiful at Center Theatre Group, and this fall, she will be directing for Interrobang Theatre as part of Charm City Fringe. Other directing credits include: The Lord of the Underworld’s Home for Unwed Mothers, Mr. Bundy, and The Best Laid Plans. Sarah has interned at Clubbed Thumb, Kitchen Theatre Company, Wellfleet Harbor Actors Theater, and Olney. She is an alumnus of Messiah College and the National Theater Institute. BEKAH WACHENFELD (Production Stage Manager) is thrilled to return to the Round House team for her second season after stage managing Becky Shaw, Seminar, This, The Lyons, Two Trains Running, and Ordinary Days. Select DC area stage management credits include An Iliad at Studio Theatre;
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The Religion Thing, New Jerusalem, The Whipping Man at Theater J; If You Give A Moose A Muffin at Adventure Theatre MTC; Mad Forest at Forum Theatre. Select regional credits include Miss Saigon, White Christmas, Amadeus at Walnut Street Theatre; Bad Dates, The Musical of Musicals…, The Light in the Piazza, Les Misérables at Weston Playhouse; Morini Strad with Primary Stages; Boy Wonders with Second Stage. International credits include The Time of Your Life, Cradle Me at Finborough Theatre in London, UK. Ms. Wachenfeld also freelances in corporate event planning. She is a proud member of AEA and graduate of James Madison University. Love to DSKMAT.
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Intersections, Student Matinees, and Play It Forward, a program that allows Montgomery County high school students to attend Round House shows for free; and Classes for Adults & Youth. Round House began life in 1970 as “Street ’70,” a program of the Montgomery County Department of Recreation that provided educational outreach in schools and performances throughout the county. In 1977, Montgomery County offered Street ’70 a permanent home in what used to be the Bushey Drive Elementary School in Silver Spring. The building was round, so the company changed its name to Round House Theatre. In 1982, Round House incorporated as a nonprofit. The company remained a part of the County’s Department of Recreation until 1993, when it became a separate and independent professional theater.
The Myth of Sam Shepard continued from page 7
as an artist always finding new ways to express himself—drifting from playwriting, to music, to acting, to directing, and then to screenwriting; as a playwright placing his own life struggles within the larger frame of the American experience; with 11 Obie awards, an Academy Award nomination, endless accolades, and a Pulitzer Prize to his name, it is no wonder why Newsweek would so easily cement Sam Shepard’s mythic reputation as a great American “leading man, playwright, maverick.”
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ADDITIONAL PRODUCTION STAFF Production Assistant: Rachel Zucker Run Crew: Mimi d’Autremont, Chris Hall Additional Carpentry: Peter Gambardella, Chris Hall, Kyle McGruther, Daniel Mori, Madeline Woods Electricians: James Brown, Carrie Cox, Peter Gambardella, Chris Hall, Sarah Mackowski, Will Voorhies Assistant Lighting Designer: Jedidiah Roe Music Performed By: Jamie Linder SM Cover/Rehearsal: Maribeth Chaprnka
This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association (AEA), the Union of Professional Actors and Stage Managers in the United States. AEA, founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote, and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is associated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. For more information, visit www.actorsequity.org.
Special Thanks: Charles & Catherine Maresca Full time staff listed on page 20. A copy of Round House Theatre’s current financial statement is available upon request. Contact Round House Theatre at One Veterans Place, Silver Spring, MD 20910 or call 240.644.1099. Documents and information submitted to the State of Maryland under the Maryland Charitable Solicitations Act are available from the Office of the Secretary of State for the cost of copying and postage.
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The lighting designer is represented by United Scenic Artists, Local USA-829 of the IATSE.
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THANK YOU
…to all of the CORPORATE, FOUNDATION, GOVERNMENT and INDIVIDUAL donors who made generous annual contributions to Round House Theatre during the 2013/2014 season. These tax-deductible gifts help the theatre continue to produce excellent productions and education programs and keep them accessible to our entire community. Please consider joining one of our giving circles. For more information about making a donation of cash, securities, or inkind services, please contact the Round House Theatre Development Department at 240.644.1401.
D I A M O N D C I R C L E ($ 10 0 , 0 0 0 +) Maryland State Arts Council
P L AT I N U M C I R C L E ($ 5 0 , 0 0 0 – $ 9 9, 9 9 9) Heidi and Mitch Dupler Alan and Bonnie Hammerschlag Jeffrey and Carolyn Leonard
The Morris and Gwendolyn Cafritz Foundation Judy and Leo Zickler
G O L D C I R C L E ($ 2 5 , 0 0 0 – $ 4 9, 9 9 9) Cathy S. Bernard Don and Jan Boardman Data-Prompt, Inc.
Heidi and Mitch Dupler MARPAT Foundation, Inc. Linda Ravdin and Don Shapero
The Share Fund The Shubert Foundation Town of Chevy Chase
S I LV E R C I R C L E ($ 10 , 0 0 0 – $ 24 , 9 9 9) Esthy and Jim Adler Michael Beriss and Jean Carlson Clark-Winchcole Foundation Clark Charitable Foundation, Inc. The Homer and Martha Gudelsky Family Foundation, Inc.
J. Willard and Alice S. Marriott Foundation Ann and Bruce Lane Susan Freeman McGee Nora Roberts Foundation Pasternak & Fidis
The Rowny Foundation Susan Gilbert and Ron Schechter Dick and Katie Snowdon Sulica Fund Bernard and Ellen Young
B R O N Z E C I R C L E ($ 5 , 0 0 0 – $ 9, 9 9 9) Elaine and Richard Binder Richard and Pamela Feinstein Freddie Mac Foundation Ann and Frank Gilbert Mark and Anastasia Joelson Henry B. & Jessie W. Keiser Foundation
Marion Ein Lewin Judy and Brian Madden Heidi and Bill Maloni Paul and Zena Mason Chris and Kathleen Matthews Susan and Bill Reinsch Hank and Charlotte Schlosberg
Laura and Robert Walther Robert and Virginia Walther Alan and Irene Wurtzel Anne and Robert Yerman Lynda and Joseph Zengerle
Natalie and Paul Abrams Kathy and Norm Barker Dimick Foundation Carol Sue Fromboluti Robert E. Hebda
Robbin and Giles Hopkins Reba and Mark Immergut Alan King Cathy Kwart Rona and Allan Mendelsohn
Lynn and Philip Metzger Stacy Murchison Larry and Melanie Nussdorf Marilyn and Barry Scheiner
Bunny R. Dwin Jan and Jim Eisner David and Jane Fairweather Laura Forman and Richard Bender Eric and Jessica Glantz Hank and Carol B. Goldberg Graham Holdings Company Stuart and Beverly Greenfeig Daniel Kaplan and Kay Richman Lerch, Early & Brewer Montgomery County Executive’s Ball Nina McLemore Scott and Louise Melby
Nancy and Dan Balz Tessie and Thanos Catsambas Bill and Donna Eacho Robin Hettleman and Matthew Weinberg Allan and Shelley Holt
Erin and Mark Kopelman Frank and Joanne Lavin Judy Levey Geoff and Lisa Lewis Winton Matthews, Jr. Louis and Sherry Nevins
Ilga Pakalns Mr. and Mrs. Louis Pohoryles Cynthia Rohrbeck David and Peggy Shiffrin Carol Trawick Andrew A. and Marcia D. Zvara
A DVO C AT E S ($ 5 0 0 – $ 9 9 9) Rachel H.M. Abraham Michael and Nancy Arons Bethesda Magazine Community Fund Gail and Samuel Broder Susan and Laird Burnett Calvert Investments Jane and Fred Cantor Katherine Chase Peggy Dugan David Ehrhart EuroMotorcars Charles Gebbert
Mary and Bill Gibb Jean and Christopher Gilson Albert Glickman Sheldon and Sherri Gottlieb Ellen Hatoum William L. Hopkins and Richard B. Anderson Denise and Alexander Liebowitz Douglas McManus and Susan Albert in honor of Laura Forman Harv Lester and Don McMinn
Jeffrey Menick David Metzger The Greene-Milstein Family Foundation Ann Morales Elissa and Bill Oshinsky P. David Pappert Laurance M. Redway Eric and Shelley Rubin Dian and Steve Seidel Leslie Smith Pamela and John Spears Luanne and Marc Stanley
Ed Starr and Marilyn Marcosson Tom Calhoun and Thelma Triche Lance Tucker Vivian Cavalieri LLC Jerry and Jean Whiddon
Carole and Robert Fontenrose Mr. and Mrs. Larrie Greenberg M.D. Norman Gurevich Michael G Hansen Ilana Heintz Terry Ireland Judy and Peter Jablow Gail Jensen Suzanne and Jon Lawrence
Darrell Lemke and Maryellen Trautman Lynn Bregman and Barry Malter Joan Mican and Skip Mahon Geri and Dick Olson Posner-Wallace Foundation in honor of Rachel Abraham Nancy E Randa Ryan and Christy Rilette
Gene and Gail Rubinson Mary Schellinger Linda and Leslie Smith Joan and Stanley Weiss Leslie Maitland and Daniel Werner Wiley Rein LLP Kathryn Winsberg
Four Seasons Gansevoort Hank’s Oyster Bar Hilton Garden Inn Bethesda Honest Tea The Irish-Inn at Glen Echo The Iron Bridge Wine Company Jaleo Barry and Beth Lindley Max Brenner Microsoft Mon Ami Gabi
Montage Resort Nina McLemore Paul’s Liquor Propellor Provisions Red Door Spa Residence Inn Bethesda Richard Nader Entertainment Ritz Carlton River Falls Rothschild Chateau Salamander Resort & Spa Shugoll Research
Signature Theatre Strathmore Studio Theatre SunTrust The Taproot Foundation Theater J Trawick Foundation Vamoose The Washington Kastles Zeke’s Coffee
A S S O C I AT E S ($ 2 5 0 – $ 4 9 9) Deborah and David Astrove Stephen and Kate Baldwin Robert and Carol Bennett Ellen L. Berman David Bradley Joan Bullmer Michael Burke Linda and Joseph Dominic Laurie Edberg Sally A. Fasman
IN-KIND DONORS
C O P P E R C I R C L E ($ 2 , 5 0 0 – $ 4 , 9 9 9) Dr. and Mrs. Clement Alpert Marla and Bobby Baker, Baker-Merine Family Foundation Terry Beaty Sue Ann and Ken Berlin Doug and Lorraine Bibby Elaine and Richard Binder Chevy Chase Trust City of Rockville Clark Construction Group, LLC Community Foundation for Montgomery County Dallas Morse Coors Foundation for the Performing Arts
F E L LO W S ($ 1 , 5 0 0 – $ 2 , 4 9 9)
B E N E FAC TO R S ($ 1 , 0 0 0 – $ 1 , 4 9 9)
ROUND HOUSE INNER CIRCLE Arts & Humanities Council of Montgomery County
ANNUAL FUND SUPPORTERS
Col. John and Marlene Moser Tim Westmoreland Sally J. Patterson Anne & Henry Reich Family Foundation, Lee G. Rubenstein, Co-President Victor Shargai and Craig Pascal Robin Sherman Susan and John Sturc Weissberg Foundation Ginger Macomber and Roger Williams Mier and Cathy Wolf Margot and Paul Zimmerman
Round House Theatre is funded by operating grants from The Arts and Humanities Council of Montgomery County and the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive (MSAC is funded by the National Endowment for the Arts, a federal agency, which believes that a great nation deserves great art). The theatre is deeply grateful for the continued support of its federal, state and county elected officials.
69603
American Plant Amtrak Assagi Barrel Oak Winery Cabot Creamery of Vermont Café Deluxe Calvert Woodley Contemporary American Theater Festival Chevy Chase Florist Community Forklift Daily Grill Doyle Printing & Offset Co.
S P EC I A L F U N D S Donald B. Hirsch Scholarship Fund The Jeffrey and Carolyn Leonard Fund The Sarah Metzger Memorial Fund Melissa Blake Rowny Fund for Artistic Development
Every gift is important to us, and we’re grateful to those who contribute at all levels. Due to space constraints, however, we are only able to list donors giving $250 or more. This list is current as of August 1, 2014.
While we make every effort to provide accurate acknowledgement for our contributions, occasionally errors occur. We appreciate your patience and assistance in keeping our lists current. To make corrections, please contact the Development Department at 240.644.1403.
BOOK EARLY AND SAVE 25% OR MORE* *Restrictions apply.
Bethesda, MD 7490 Waverly Street between East-West Hwy and Montgomery, across the street from Round House Theatre Bethesda
Vamoose
to New York City for Music, Art, Theatre, Dance, and Entertainment Convenient schedules, pick up and drop off points
Arlington, VA 1801 N. Lynn Street (corner 19th St) 1 block from Rosslyn Metro Blue & Orange Line Lorton, VA VRE Station 9000 Lorton Station Blvd New York City Penn Station 30th St and Seventh Avenue on the NW corner at the Bagel Maven Café
www.VamooseBus.com • Tel: 301-718-0036
Round House Theatre is pleased to welcome
Honest Tea as its
2014 ∕ 15 Season Concessions Sponsor
ROUND HOUSE THEATRE DIRECTORY BOARD OF TRUSTEES Mitchell S. Dupler, President Sally J. Patterson, Immediate Past President Susan Gilbert, Vice President Cathy S. Bernard, Treasurer Bruce S. Lane, Secretary Michael Beriss Elaine Kotell Binder Donald M. Boardman Laura Forman Ann Gilbert Eric Glantz Bonnie Hammerschlag Mitchell Hébert Erin Kopelman Marion Ein Lewin
AUDIENCE SERVICES
ADVISORY BOARD Geoffrey P. Lewis Susan Freeman McGee Brian M. Madden Paul Mason Scott Melby Stacy Murchison Linda J. Ravdin Ryan Rilette Laura Walther Roger Williams Mier Wolf Judith H. Zickler General Counsel: Ann Marie Mehlert Lerch Early & Brewer, Chtd.
Jerry B. Whiddon, Producing Artistic Director Emeritus Guido Adelfio Esthy and James Adler Norman A. Barker Sue Ann Berlin Jean Carlson Donna W. Eacho Zelda Fichandler Carol Brown Goldberg Reba Immergut Peter A. Jablow Mark and Tory Joseph Betsy Karmin Audrey and Sheldon Katz Ann Lane Frank and Joanne Lavin Gordon and Jocelyn Linke
Dorothy and William F. McSweeny Chuck Muckenfuss Eliot Pfanstiehl Trina and Lee G. Rubenstein Ron Schechter Marilyn Scheiner Jeremy W. Schulman Victor Shargai Robin Sherman William J. Sim Richard W. Snowdon, III Jonathan R. and Shellie Steinberg Manny Strauss Kathy Yanuck Wenger Andrew A. Zvara
LOCATIONS
PARKING
Bethesda Mainstage
Paid parking is available in the
4545 East-West Highway
Chevy Chase Trust building
Bethesda, MD 20814
parking garage, adjacent to
www.RoundHouseTheatre.org
the theater. The eastern-most
Education Center
elevator in the garage provides
925 Wayne Avenue
direct access to the theater.
Silver Spring, MD 20910
Parking is also available in various nearby lots including
Administrative Office One Veteran’s Place Silver Spring, MD 20910
BOX OFFICE HOURS M – F noon – 5 p.m.
ARTISTIC / PRODUCING
Producing Artistic Director: Ryan Rilette Associate Producer: Danisha Crosby Artistic Apprentice: Sarah Scafidi
ADMINISTRATION General Manager: Tim Conley Accountants: Raffa, P.C.
DEVELOPMENT
Director of Development: Sarah Sexton Manager of Institutional Giving: Patricia Germann Development Associate: Jennifer Culotta
MARKETING & PUBLIC RELATIONS
Director of Marketing & Public Relations: Lance Tucker Marketing & Public Relations Manager: Sarah Pressler
AUDIENCE SERVICES
Director of Audience Services: Julie Scoville Box Office Manager: Donna Hall Group Sales: Steve Langley Box Office Associates: Marquita Dill, Alessandra Dreyer, Lorraine Ebbin, Andrea Ponger, Ryan Rigazzi Lead House Manager: Michele Cesar Turner
House Management Staff: Sondra Katz, Nora O’Reilly, Lori Lentner Schwartz, Richard Taylor, Maureen Wynn
PRODUCTION
Production Manager: Jesse Aasheim Technical Director: Amanda Stultz Assistant Technical Director: Kevin Maresca Master Electrician/Audio Supervisor: Liz Sena Costume Shop Manager: Rachel Schuldenfrei Scenic Charge: Jenny Cockerham Carpenter: Shaun Bartlow Production Stage Manager in Residence: Bekah Wachenfeld
EDUCATION
Education & Outreach Program Manager: Jillian Levine‑Sisson Lead Teaching Artist/ Education Administrator: Brianna McCoy
FACULTY
Nora Achrati Nate Alston Audrey Bertaux Elizabeth Jernigan Casey Kaleba Timothy Kerber Marin Leggat Bri Manente Brandon McCoy Melissa Richardson Andrew Stoffel
Round House Theatre
2014 – 15 ARTISTS
Actors Evan Casey Katie deBuys Sherri L. Edelen Maggie Erwin Gabriela Fernandez-Coffey Will Gartshore Danny Gavigan Tim Getman Kimberly Gilbert Laura C. Harris Deborah Hazlett Mitchell Hebert Helen Hedman Beth Hylton Eddie Ray Jackson Mark Jaster Thomas Keegan Vincent Kempski Marty Lodge Brandon McCoy Roscoe Orman Lawrence Redmond Ryan Rilette Nancy Robinette Jefferson A. Russell Todd Scofield Eric Shimelonis Robert Sicular Michelle Six Katherine Renee Turner Erin Weaver James Whalen Jerry Whiddon Lauren Williams Joy Zinoman Designers Christopher Baine Colin K. Bills Tony Cisek Andrew R. Cissna Daniel Conway Heidi Leigh Hanson Kasey Hendricks Helen Huang Misha Kachman
20
2014/2015 Season
Caite Hevner Kemp James Kronzer Frank Labovitz Andrea Moore Matthew M. Nielson Courtney O’Neill Meghan Raham Eric Shimelonis Debra Kim Sivigny Paul Toben Daniel MacLean Wagner Directors Joe Calarco Meredith McDonough Ryan Rilette Derrick Sanders Shirley Serotsky John Vreeke Edgar Gonzalez, Assistant Director Katie Ryan, Assistant Director Sarah Scafidi, Assistant Director William Yanesh, Musical Director Dramaturgs Jodi Kanter Otis Ramsey-Zoe Brent Stansell Fight Choreographers Casey Kaleba
SPECIAL PERFORMANCES
Tuesday: noon – 7:30 p.m.
pre-performance discussion and get a behind-the-scenes look at the creation of the show. Held in the theater at 6:45 p.m. prior to the first Wednesday performance.
the metered garage on Waverly
DIRECTOR DISCUSSION
Street. Meters run until 10 p.m.
Join the director and/or
weekdays, with free parking on
Round House Theatre’s
Saturday and Sunday. Pay-by-Cell
Producing Artistic Director
Phone parking is available in the
for a pre-performance
Waverly Street garage.
discussion of the show you
METRO
in the theater at 7:15 p.m.
When there is a performance the box office is also open:
DESIGNER DISCUSSION Join the design team for a
are about to watch. Held prior to the first Friday
Wednesday & Thursday:
BETHESDA
10 a.m. – 7:30 p.m.
Round House Theatre
performance.
Friday: 10 a.m. – 8 p.m.
is at 4545 East-West Highway,
POST-SHOW TALKBACKS
Saturday: Noon – 8 p.m.
one block east of Wisconsin
Join us for a post-show
Sunday: Noon – 3 p.m.
Avenue and of the Bethesda
discussion of the play
station on the Red Line.
TICKET SALES AND SUBSCRIBER EXCHANGES
SILVER SPRING Round House Theatre Education Center is at 925 Wayne Avenue,
Phone: 240.644.1100
adjacent to the Wayne Avenue
Fax: 240.644.1101
parking garage and two blocks
Tickets and subscriptions may also be purchased at the box office or online at
performances. Round House Theatre facilities are accessible to persons with disabilities.
the Red Line.
Please request special needs seating at time of ticket
PERFORMANCE DETAILS GROUP SALES
Cameras and recording devices
Discounts are available for
are not allowed in the theater.
groups of 10 or more. Call
Please turn off all pagers,
240.644.1100 for details.
telephones, watch alarms, and
LOBBY CONCESSIONS
the performance. Latecomers will
other electronic devices during be seated at the management’s
available for purchase before
and Sunday matinee
from the Silver Spring station on
www.RoundHouseTheatre.org.
Food and beverages are
following the Wednesday and Thursday evening
discretion.
Audio-description is provided at the second Saturday matinee. Sign-interpretation is provided at the fourth Saturday performance. Audio-enhancement
the performance and during
systems are available
intermission. Food is not allowed
Program design by
in the theater auditorium,
Scott Shumaker at
although drinks with lids
Precision Design LLC.
for all productions. Please
or caps are permitted.
Round House Theatre
purchase.
21
2014/2015 Season
ask an usher for assistance.
INSPIRE ENGAGE CAPTIVATE PICK 3 (OR MORE) PLAYS & SAVE! IT’S THE IDEAL WAY TO ENJOY OUR 14/15 SEASON. SUBSCRIBE NOW FOR AS LITTLE AS $90 2 , 2 0 14 – N OV 0 O C T 10
FETCH CLAY, MAKE MAN
4 1 0 2015 2 2 0 15 - FEB 22 JA N 2 8
RAPTURE, BLISTER, BURN AREA PREMIERE BY Gina Gionfriddo DIRECTED BY Shirley Serotsky
D N U O R E S U O H T A E H T AREA PREMIERE
A co-production with Marin Theatre Company BY Will Power DIRECTED BY Derrick Sanders
Days before a big fight, Muhammad Ali forms an unlikely friendship with controversial star Stepin Fetchit.
8 2 0 14 – DEC 2 N OV 2 6
THE NUTCRACKER
A NEW HOLIDAY MUSICAL
CREATED BY Tommy Rapley, Jake Minton, Phillip Klapperich, and Kevin O’Donnell DIRECTED BY Joe Calarco
With an original score and spellbinding spectacle, this new take on the holiday story is hilarious, poignant, magic, and fun.
A smart comedy exploring family, career, romance, middle-aged meltdowns, and the decisions that define a life.
3 2 0 15 – M AY 0 APR 08
UNCLE VANYA AREA PREMIERE
BY Anton Chekhov NEW VERSION BY Annie Baker DIRECTED BY John Vreeke
An all-star cast, modern language, and an inventive staging in the timeless tale of relationships and yearning.
NSFW
1 2 0 15 – JUN 2 M AY 2 7
AMERICAN PREMIERE
BY Lucy Kirkwood DIRECTED BY Meredith McDonough
It hits the fan when a men’s magazine uses an amateur model in a racy photo spread in this sharp new comedy.
Call 240.644.1100 or visit RoundHouseTheatre.org